Thank you. There's also the advantage of there existing some 10"-16" in stock, too. Do you think the 16" makes it hard to do chords higher in the neck?
No way lol, just a minor worrying. I assume that flat of a radius helps keeping the action very low, right?
Yeah its not an issue. Action depends on many factors but the theory of compound radii is that you can get lower than straight radius without having bends choke out.
6150 frets are closer to most modern Fender frets. 6105 frets are a little bit skinnier.
If I put a half dozen guitars in your hand with different fretboard radii you likely wouldn't notice any difference except at the most extreme ends of the spectrum. Yeah, a 7.5" and a 16" are going to feel a bit wonky next to each other. Going from a 9.5" to a 16"... eh, not so much. There's a really good diagram in this TDPRI thread that shows just how little real world difference there is: https://www.tdpri.com/threads/string-height-and-understring-radius.730022/ Of course, feel is measured in hundredths of a millimeter but even for the most ridiculous of radius changes just give it fifteen minutes and you'll forget.
Charts like that are fine but in real life I notice significant difference between 9.5" and 12". The threshold for differences based on feel is a very subjective and personal thing, but it matters a lot for some. Tradeoffs are inevitable, and bending on a 9.5" sucks compared to a 12" and higher, indeed.If I put a half dozen guitars in your hand with different fretboard radii you likely wouldn't notice any difference except at the most extreme ends of the spectrum. Yeah, a 7.5" and a 16" are going to feel a bit wonky next to each other. Going from a 9.5" to a 16"... eh, not so much. There's a really good diagram in this TDPRI thread that shows just how little real world difference there is: https://www.tdpri.com/threads/string-height-and-understring-radius.730022/ Of course, feel is measured in hundredths of a millimeter but even for the most ridiculous of radius changes just give it fifteen minutes and you'll forget.
The real difference is in bent notes. A smaller radius will fret out sooner, sometimes making even a full step bend impossible. This is really why the compound radius was developed, as I understand it. The flatter the board up high, the more room there is for the string to vibrate when it's bent.
Another positive that's not often brought up is that a flatter radius up high allows you to use a flatter radius at the bridge. If you've ever tried to use a pick on a violin you know why that's a good thing.
It is essential that a progressive radius (wrongly called compound) is maintained, leading to a flatter radius at the bridge, being not just allowed but required for proper set up.
